RA Washington
There is something to be said for commitment, whether it be familial or theoretical - commitment seems to be the one detail missing from today's cultural landscape. Make no mistake, The Cleveland based punk band, THIS MOMENT IN BLACK HISTORY are committed. They are committed to the dialogue created in quartet-that space where it will be heavy, sacred - the future leaning back to grab the past. On their third full length, Public Square you can clearly see where this visionary "commitment" to a historical dialogue has taken their art.
Confused? its okay, that happens when you might have touch apathy "lens".
Forgive yourself and move on. Lets be clear here, you will not find a more emotionally charged record length statement than Public Square, the record starts in the tradition of forward jazz records - a sharp stab of keys, into Gospel tinged hum. You realize that it is time to pay attention, much like the World B. Free preamble on their last record, "It Takes A Nation of A**holes To Hold Us Back" - a call to arms has been made. You stand up, only to smack in the f-ing face with one of the sickest riffs recorded in the last fifteen years. Hyperbole? Perhaps, but you will be hard pressed to not agree. While the riff in the rock context often is meant to describe a guitar lick, this "RIFF" of Bim Thomas kick in immediate dialogue guitarist, Buddy Akita's dynamic stanza propels you right into vocalist Chris Kulcsar's compelling vocal. This a band of drummers in mind, simply because the rhythm created by the quartet is so Hank Shocklee.
And they know just how bad ass "FOREST WHITAKER (in an uncompromising role)" is for at the end of the song, you hear a distinct, and steady YEAH as they launch into a quintet "suite" (if you will) of some of the most compelling songs I have ever heard in a group context. Beginning with " THEOPHYLLINE VALENTIME" - the title a reference to Asthma- and ending with "90% TONE".
The second side continues to amaze, even as they break into a beatbox instrumental, complete with one of the most hilarious double entendre rhymes ever recorded. So tongue in cheek is that you begin to wonder after a couple of listens if he really is imploring the band to give his "NOTES" space. I think of this band in the context of sample artists like The Dust Brothers, or Madlib - conceptual in approach, but each side bringing their strong will to the proceedings. Not one member of THIS MOMENT seems to be giving ground. Its what makes them so masterful, and what makes you question what is wrong with a culture that is intent on turning its most brilliant artists into villain - for you know there are millions of people who believe what this band does. Your mind will not allow for you to let go of the fact that you and yours are being hidden from the masses, while the "big brother watching" give them shit dressed ala punk[e' ] , and piss bling[ed] as hip hop.
Recorded by Paul Maccarrone at the recently defunct - Zombie Proof Studios, and printed onto recycled colored vinyl, the music hits - i don't think they have ever been recorded better than this. Bim Thomas' drums sound as if they could swallow entire marching bands, and Lawrence Daniel Caswell's bass thump like a dozen 808s. Beat makers will be in heaven. I must say that it was Buddy Akita's playing on this particular record that i found awe inspiring.
Described by other reviewers/bloggers as blues and garage tinged - and while that holds weight - I found him to be playing both as an ensemble player, and a the exact same time floating over the entire record in an explosively subtle way. Much like Dolphy, in the context of Coltranes' now infamous quartet. It makes the title, PUBLIC SQUARE metaphor almost meta-textual in its satirical, but sincere homage to Cleveland, for while there must be communication from all sides to be a "square" the intent of any public space must be present. This where gather to give the news- here is where we rally for our own. Akita's guitar is this intent.
This Moment In Black History - Theophylline Valentime
TMIBH: Public Square is available on recycled color vinyl [w/download code], through their record label Smog Veil Records and locally at Music Saves.
Monday, January 11, 2010
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